Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Ethiopia and from Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1971.
I'm losing my edge.
To all the kids in Halifax and Tokyo.
I'm losing my edge to the art-school Beijing kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Smoke to the electroclash kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Tremeloes. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Bobbi Humphrey record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Sun City Girls,
The Mojo Men,
Pantaleimon,
Pharaoh Sanders and the Fire Engines,
The Buckinghams,
Unrelated Segments,
Roy Ayers Ubiquity,
Bauhaus,
The Wake,
The Toasters,
Malaria!,
The Five Americans,
Ornette Coleman,
Animal Collective,
The Barracudas,
Stiv Bators,
Roy Ayers,
This Heat,
Rhythim Is Rhythim,
Godley & Creme,
DeepChord presents Echospace,
Bobby Byrd,
Throbbing Gristle,
Qualms,
Camouflage,
Bang On A Can,
Mad Mike,
Wings,
Duran Duran,
Dawn Penn,
Flipper,
Vainqueur,
Skarface,
Moebius,
Moby Grape,
Avey Tare's Slasher Flicks,
Bill Wells,
Larry & the Blue Notes,
The United States of America,
Parry Music,
Deakin,
Joe Smooth,
Brothers Johnson,
Flamin' Groovies,
Maurizio,
Josef K,
Teenage Jesus and the Jerks,
Talk Talk,
Rahsaan Roland Kirk,
Ronnie Foster,
The Gories,
Tropical Tobacco,
The Fugs,
Fatback Band,
Liaisons Dangereuses,
Erykah Badu,
Erasure,
ABBA,
Fela Kuti,
Kango’s Stein Massive,
Crash Course in Science,
the Slits,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.